P-109 Assignment

➡️ paper no.109 Literary Theory & Criticism and Indian poetics 

💠 Assignment paper no.109

This blog is an assignment paper no 109 Literary Theory & Criticism and Indian poetics . In this assignment I am dealing with 'The natyshahtra and Indian cinema' 

🔷 Personal information:

Name: Gohel Dhruvika G

Paper no:109 Literary Theory & Criticism and Indian poetics 

Subject code: 22402 

Topic name:  'The natyshahtra and Indian cinema' 

Batch: M.A sem 2

Roll no: 04

Enrollment no: 5108240012

E-mail address: dhruvikagohel252@gmail.com 

Submitted to: smt, S.B Gardi Department of English MKBU

🔷The Natyashastra and Indian Cinema

💠Introduction

Indian cinema, one of the largest film industries in the world, is a rich tapestry of storytelling, performance, music, and visual art. While the contemporary Indian film landscape is often associated with commercial productions like Bollywood, its roots can be traced back to ancient Indian traditions, particularly the Natyashastra. Composed by Bharata Muni between 200 BCE and 200 CE, the Natyashastra is a comprehensive treatise on dramaturgy that has shaped the aesthetics of Indian performing arts for centuries. This assignment explores the foundational principles of the Natyashastra and examines how they continue to influence Indian cinema in terms of narrative structure, performance, music, and emotional expression.

💠 The Natyashastra: An Overview

The Natyashastra is one of the oldest and most detailed treatises on performing arts in the world. It comprises 36 chapters and over 6,000 verses that provide guidance on various aspects of drama, including stage design, music, dance, acting, makeup, costumes, and audience engagement. The text was originally meant to guide theatrical performances in temples and courts, but its influence extended to classical dance forms like Bharatanatyam, Kathakali, and Odissi, and eventually to cinema.

A central concept in the Natyashastra is Rasa, the aesthetic flavor or emotional essence experienced by the audience. Bharata outlines eight primary Rasas (later expanded to nine): Shringara (love), Hasya (laughter), Karuna (compassion), Raudra (anger), Veera (heroism), Bhayanaka (fear), Bibhatsa (disgust), Adbhuta (wonder), and Shanta (peace). These Rasas are evoked through Bhavas (emotions or expressions) performed by the actor.

The Natyashastra also emphasizes the concept of Natya (drama) as a synthesis of all art forms and considers it a means of moral and spiritual education. The purpose of art, according to Bharata, is not merely entertainment but also the elevation of the audience through emotional catharsis and philosophical reflection.

💠 Influence of the Natyashastra on Indian Cinema

Though separated by centuries, Indian cinema reflects many of the ideas put forth in the Natyashastra. From its early silent films to the vibrant musicals of Bollywood and the art-house productions of regional cinema, the principles of Rasa, Bhava, and dramatic composition remain integral.

1. Rasa Theory in Cinematic Storytelling

One of the most direct influences of the Natyashastra on Indian cinema is the use of Rasa to construct narratives and evoke emotions. Most Indian films, especially mainstream productions, are structured to deliver a complete emotional experience by incorporating multiple Rasas within a single narrative.

For instance, a typical Bollywood film may contain elements of Shringara through romantic sequences, Veera in action scenes, Hasya in comic relief, and Karuna in tragic turns. This multi-Rasa composition aligns with the Natyashastra’s idea that drama should provide a holistic experience to its audience.

Satyajit Ray’s films, though influenced by Western realism, also exemplify Rasa theory. In Pather Panchali (1955), the subtle use of Karuna and Shanta evokes deep empathy and contemplation. Similarly, directors like Mani Ratnam and Vishal Bhardwaj consciously use Rasa to guide mood and theme.

2. Bhava and Acting Techniques

Acting in Indian cinema often leans towards expressive gestures and facial expressions, especially in classical and early films. These practices are rooted in the Natyashastra’s detailed system of Bhavas. Bharata classified Bhavas into Sthayi Bhava (permanent emotions), Sanchari Bhava (transitory emotions), and Vyabhichari Bhava (complementary emotions) to guide performers in their portrayal of character and mood.

Actors like Nargis, Dilip Kumar, and later, Irrfan Khan and Nawazuddin Siddiqui, have drawn from these traditions, using nuanced expression and body language to convey emotion. Even commercial stars like Shah Rukh Khan utilize amplified Bhavas to connect with a mass audience, often portraying intense Shringara or Veera through distinct physicality and voice modulation.

3. Dance, Music, and the Audiovisual Language

The Natyashastra treats music and dance as essential elements of drama, not mere embellishments. This integration is mirrored in Indian cinema, where song and dance sequences are central to the narrative, unlike in most Western films.

The choreography of classical Indian dance forms, based on Natyashastra, heavily influences film dance. Many actresses like Vyjayanthimala, Hema Malini, and more recently, Shobana and Aishwarya Rai, trained in classical dance, have brought the expressive grammar of Mudras and Abhinaya to the silver screen.

Moreover, background scores in Indian cinema aim to amplify the emotional Rasa of each scene. The use of Ragas, specific rhythmic patterns, and leitmotifs echo the Natyashastra’s approach to music as a narrative force.

4. Mythology, Morality, and Narrative Structure

The Natyashastra views drama as a didactic tool, often drawing from epics like the Ramayana and Mahabharata to promote Dharma (righteousness). Indian films frequently follow this template, blending entertainment with moral or social messages.

Mythological films like Jai Santoshi Maa (1975) and Mahabharat adaptations reflect this tradition directly. Even modern films such as Baahubali or Lagaan employ mythic structures  hero’s journey, cosmic justice, moral dilemmas  to resonate with cultural memory.

Directors like Rajkumar Hirani (Munna Bhai MBBS, PK) and Shyam Benegal (Ankur, Manthan) use cinematic storytelling to challenge social norms while upholding moral frameworks, much like the classical Natya aims to instruct and transform.

5. Visual Symbolism and Cinematic Form

The Natyashastra outlines principles for stage design, costume, and visual symbolism that extend into cinema. The symbolic use of color, costume, lighting, and setting in Indian films often parallels theatrical aesthetics.

For instance, the use of white to denote mourning, red for passion or marital status, and dramatic lighting to signal internal conflict are common cinematic devices derived from classical theatre. In films like Devdas, Mughal-e-Azam, or Padmaavat, costume and mise-en-scène are meticulously designed to heighten Rasa.

Even the Navarasa concept has inspired entire cinematic frameworks. Tamil director Mani Ratnam’s anthology Navarasa (2021) explores each Rasa in standalone episodes, directly acknowledging Bharata's influence.

💠 Contemporary Relevance and Critique

While the Natyashastra has significantly influenced Indian cinema, the modern medium has also evolved and challenged its frameworks. Critics argue that the rigid gender roles and idealized moral codes in classical texts may not align with contemporary values of inclusivity and realism.

However, contemporary filmmakers often reinterpret classical concepts through modern lenses. For example, the use of Rasa in psychological thrillers or LGBTQ+ narratives expands the scope of classical emotion beyond traditional archetypes.

Moreover, digital cinema, OTT platforms, and global influences have diversified cinematic language. Yet, even in such varied expressions, the emotional depth, performative aesthetics, and narrative structures often carry echoes of Bharata’s vision.

💠 Conclusion

The Natyashastra, with its profound insights into performance, aesthetics, and emotion, continues to be a foundational text for Indian art and storytelling. Indian cinema, in its many forms, carries forward this legacy by integrating Rasa theory, Bhava-driven acting, music, dance, moral narrative structures, and visual symbolism into its core language. As Indian cinema evolves in the 21st century, the enduring relevance of the Natyashastra serves as both a historical anchor and a creative inspiration, ensuring that the soul of Indian drama remains vibrant and resonant across generations.

💠 References:

Chaudhury, Pravas Jivan. “Pravas Jivan Chaudhury, Catharsis in the Light of Indian Aesthetics.” PhilPapers, 1 Jan. 1965, philpapers.org/rec/CHACIT-3. Accessed 14 Apr. 2025.

“Natyashastra.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/topic/Natyashastra. Accessed 14 Apr. 2025.

Thank you.